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Jannok is from the far north, near the Arctic Circle and sings mainly in Sami, the language of the people of northern Scandinavia. As to be expected from music conceived in such a remote location, both the landscape and Sami culture looms large over Áššogáttis. Jannok’s high, transparent voice swoops deliciously above the accompaniment, but she doesn’t just sing melodies — with her distinctive vocal decoration she employs her voice like an instrument.

With some lush string arrangements and arching anthems (especially the trance-like ‘Irene’) it is tempting to compare Sofia and her band with Sigur Ros, but similarities are actually pretty thin on the ground. Jannok’s key external influence is jazz and her music is naturally introspective and harmonious rather than grand or soaring. The Peter Tikkanen Trio lend firm support with low-key riffs and improvisations, adding a layer of funkiness to tracks like ‘Árvas’ and ‘Golle Máze’

Jannok composed most of the music on Áššogáttis. Although a couple of her folk-pop melodies lack sparkle, she crafts songs with great skill. Title track ‘Áššogáttis’ has a stillness that builds and ebbs, echoing the passionate lyrics (beautifully translated for those of us not familiar with Nordic languages) and sweet-toned love song ‘Liekkas’ conveys the happiness of being warm inside while it is bitterly cold out.

Final track ‘Dulla Lullabye’, fuses a beguiling traditional folk tune with Jannok’s lyrics (A small child’s dream / is whiter than the snow / The wind on the tundra / starts singing for you), which, together with a poised trumpet solo interlude, brings home the nostalgic innocence of this music and sends a shiver down the spine.